SOBRE LIVROS, FILMES, MÚSICA, PEÇAS DE TEATRO, EXPOSIÇÕES, SÉRIES DE TELEVISÃO, ANTIGOS OU RECENTES.
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Pedro Tiago Ferreira
The central thesis advanced by John W. Lango in The ethics of armed conflict is that, “in contemporary theorising about just war principles, there ought to be a paradigm shift from a state-centric approach to a cosmopolitan approach” (p. 7).
The aim of this review is to provide a brief overview of John Rawls’s philosophical work. I shall confine my analysis to his most famous and important ideas, gauged by the impact they have produced in academia. I believe such a task is important in order to provide an introduction to Rawls’s thought readable to people who have never read Rawls nor have technical knowledge of the subjects he discusses, and for this reason no novel interpretation of Rawls shall be offered here.
Filosofia do Direito, de Reinhold Zippelius, é uma obra naturalmente dirigida a juristas, mas que convoca problemas que interessam a filósofos em geral, e não somente àqueles que reflectem especificamente sobre o Direito. Para além disso, o facto de ser uma obra redigida de uma forma muito clara é um factor de interesse para quem, não sendo jurista nem filósofo, procure uma obra de introdução ao pensamento jurídico que não coloque as habituais dificuldades da linguagem técnico-jurídica que, muitas vezes, se revela hermética para os não-juristas, funcionando como elemento de dissuasão à busca, por parte destes, da compreensão das mais elementares questões de filosofia do Direito.
Questioning Sovereignty is the first volume of a quartet titled Law, State and Practical Reason. The other volumes are Rhetoric and the Rule of Law (2005), Institutions of Law (2007) and Practical Reason in Law and Morality (2008). The author of these works, Neil MacCormick, a Scottish and British national, died in 2009. He was a Professor of Law at Edinburgh University whose specialty was Jurisprudence, Legal Theory and Philosophy of Law. His academic functions were suspended between 1999 and 2004, as he was elected Member of the European Parliament for the Scottish National Party. During his tenure as Member of the European Parliament he also served as member of the Convention on the Future of Europe between 2002 and 2003, the body responsible for the Draft Treaty establishing a Constitution for Europe, which did not come into force as it was rejected after referenda held in France and Holland. As international treaties must be ratified by the party in question before they are applicable to it, a Constitution for Europe designed to substitute a full-fledged federal state for what is now known as “European Union” would only be feasible if all its member states were to ratify it. Notwithstanding the positive results obtained in referenda held in Spain and Luxembourg, the rejections in France and Holland halted the process in the remaining member states and induced a “period of reflection” which culminated with the removal, from the text of the Treaty, of all federal references. The result is the Treaty of Lisbon, which entered into force in 2009 and instituted the European Union.
In Under the Dome, a long and thrilling book, Stephen King caricaturises several problems which are transversal to all human societies. The environmental question posed by the greenhouse effect, the economic problem of scarcity of resources, the crumbling of law and justice before rhetorical demagogy, which is connected to the perversion of political power for personal rather than public use, are some of the issues King cleverly engages in this well-written and well-structured novel.
Paul Eggert sums up Securing the Past by stating that it “is the first book to bring the arts of restoration together to examine their linked, underlying philosophies.” (p. 9) The arts of restoration to which Eggert alludes encompass what is done in the field of Art lato sensu, which includes, as the subtitle of Securing the Past makes clear, Architecture and Literature, besides Art stricto sensu. I shall use the term “Art,” in this review, in its restricted sense to mean painting and sculpture, as these are the art forms with which Eggert is mainly concerned.
Hans Ulrich Gumbrecht começa por identificar, logo nas primeiras páginas de The Powers of Philology, dois sentidos habitualmente atribuídos ao termo «filologia»: “On the one side, you will find definitions of the word philology that, bringing it back to its etymological meaning of ‘interest in or fascination with words,’ make the notion synonymous with any study of language or, even more generally, with almost any study of any product of the human spirit. On the other, more specific and more familiar side, however, philology is narrowly circumscribed to mean a historical text curatorship that refers exclusively to written texts.” (p. 2)
Sentido e Valor do Direito é uma obra de cariz filosófico que analisa três grandes questões, a saber: “o que é o Direito?”, “o que é a Justiça?” e quais as relações entre ambos.
Em La mediación editorial, Jerónimo Pizarro fala da edição póstuma da obra de Fernando Pessoa (capítulo I, pp. 29-92), da edição igualmente póstuma de Macedonio Fernández (capítulo II, pp. 93-144), das edições críticas da “Colección Archivos” (capítulo III, pp. 145-194) e da forma como os filólogos devem lidar com aquilo que, em crítica textual, se denomina por “originais” (capítulo IV, pp. 195-248), com o intuito de defender a seguinte tese, expressamente formulada no prólogo (pp. 9-27) do seu ensaio:
Em Os Livros de Fernando Pessoa, Pedro Sepúlveda defende a tese de que "nos fundamentos da obra de Pessoa [há] um pensamento de índole editorial que os determina" (p. 18). Este mesmo pensamento concretiza-se de duas formas. Por um lado, através da utilização de nomes de autor, que "funcionavam como categoriais editoriais, definidoras e delimitadoras das obras e dos livros projectados" (p. 331). Por outro, através da abordagem ao problema "da concepção do livro, entendido como suporte ao qual Pessoa sempre associou a ideia de um todo orgânico que seria a expressão de uma obra no seu estado de completude", e que funcionaria como "ideal condutor, que corresponderia à apresentação de uma obra liberta do seu carácter lacunar, imperfeito ou fragmentário" (p. 40).
